Caroline Hatem

Omar, a photographer, has a special experience with death. He is trying to express it through a new project. One day, three photo sessions and witnesses. Between the walls of a studio, one photographer and three people meet up after a casting. Bodies express stories of sex, love and trauma in the city of Beirut.

In recent years, Lebanese municipalities have imposed curfews restricting the freedom of movement of Syrian workers, who are thus prohibited from walking the streets after dark. Filmed in Lebanon, Lebanese Nights highlights the different facets of Lebanese and Syrian experiences related to curfew, through a gallery of places and characters: from local residents to migrant workers to sectarian vigilantes who impose their own curfew.

The film is about the failure of (Abu Afif) grandfather of the child (Karim) who owns an old-fashioned property, with the end of the civil war and the passage of days becomes Karim young and immigrants with the timing of the reconstruction of Beirut, Karim finds in that project hope to restore paint and restoration of the structure inherited About his grandfather. It collides with the rehabilitation project when it is discovered that the building is owned by a real estate company in order to establish its place of the Dream Tower. The company succeeds in owning some floors and the building renovation project is stopped for the second time. In the meantime, Karim meets Maya, and they experience a swaying love story in tandem with the problem of demolishing or restoring and preserving the building.

Three protagonists, one city, different backgrounds: Nour, India and Marwan pass each other but they never meet, though the effect of one incident will drastically alter their lives. Caught in a moment, their lives fall apart in just a matter of seconds.

A Beirut rooftop conversation about living with Sexually Transmitted Infections opens into a cinematic dialogue, as Danielle and Moe draw raw and vibrant images from their personal experiences. Danielle filmed herself in sober and melancholic images to grasp what is going on, while Moe plays with memories and sensations of a queer body “invaded” by a virus. While they engage with five actresses and actors to embody the testimonies of individuals who also lived with STIs, “forbidden” stories begin to exist and enter a collaborative exploration of intimacy, bodies, stigma and shame.